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This picture, painted in 1849 and exhibited at the Royal Academy in 1852, is one of Smetham’s most important early works. It represents the Biblical story told in Luke, chapter 24, verses 13-35, of Christ’s miraculous appearance to two of his disciples following the Resurrection. Jesus remains unrecognized by them until when sitting to eat he blesses the bread in emulation of the Last Supper. One of the disciples recognizes him immediately while the other looks at him surprised, but still with a bit of skepticism. This painting again reflects Smetham’s deep religious faith that remained steadfast through his life.

According to Susan Casteras, “while rather stiff in poses, foreshortening and technical handling, the composition harkens back to compositions by Rembrandt and others while incorporating a nod to Ruskinian foliage at the top and sides. Christ’s true identity has just been revealed to those at the table, and as the two men react, Christ remains psychologically isolated and apart in terms of gesture, pose and inner state of being. He holds some pieces of bread, which together with a nearby cup of wine signify eucharistic connotations” (105). John Christian felt that: “This picture probably betrays Ruskin’s influence in its careful attention to naturalistic detail and the total sincerity with which the scene is envisaged. The impact of Pre-Raphaelitism, however, is hardly yet apparent…Smetham in his persona as one of the most interesting associates of the Pre-Raphaelites did not emerge until he met Ruskin and Rossetti in 1854” (210).

Bibliography

Casteras, Susan P. James Smetham: Artist, Author, Pre-Raphaelite Associate. Aldershot, U.K.: Scholar Press, 1995.

Christian, John. The Forbes Collection of Victorian Pictures. London: Christie’s (February 20, 2003) 210-211.

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Last modified 23 March 2022